Coffee/House (for Volta)

Something closed must retain our memories, while leaving them their original value as images. –Gaston Bachelard

In his meditative book The Poetics of Space, philosopher-poet-postmaster Gaston Bachelard situates the house within a series of concentric circles. Our houses radiate outward from the psyche to the sidewalk, from early memory to later recollection, from childhood daydreaming to future architectures. For Bachelard the space of the home holds an ultimate poetic depth that we can fathom only through dreams, memories, and poems. As we continually reconstruct our houses through images and words, our preoccupations with space become reoccupations of generative spaces.

(Once at Volta, I did a presentation with 20 images. I heard several poetry and fiction readings there.)

All really inhabited space bears the essence of the notion of home.
A coffeehouse is a community space where we can daydream, read, and write alone in company, or we might converse with persons already known or previously unknown. Each coffeehouse creates transient soundscapes of that moment’s music from the speakers, the varied rhythms of surrounding conversations and their languages, the intermittent keyboard clicks I’m making in this space at this moment.

Hanging from the ceiling across from me is a wooden sculpture that lets in the light between its sticklike components—as if someone pried open an architectural model. A house suspended in air. Cradled within an interstice lies a small mass of more densely assembled material; it resembles a bird’s nest. The surrounding coffeehouse nests its various assemblages of patrons with open spaces between the hard, smooth surfaces of its counters and shelves, tables and chairs.

For our house is our corner of the world.
My coffeehouse has two floor-to-ceiling windows on its outer wall; each has four panels. Through these windows the interior space is sculpted with natural light: the skyscape of bright or mottled clouds, the clarifying light of cloudless days. These windows also bring the downtown streetscape into an almost tactile proximity. Lines of mortar portion out the individual bricks, abrasions add texture to the asphalt, weathered concrete curbs divide them.

A house constitutes a body of images that give mankind proofs or illusions of stability.
A coffeehouse is the opposite of one’s workplace or home office, an altogether different kind of space than a reading nook at a school or library. It is an alternative home that is more open to the spaces around it. A poetic space that houses a transient togetherness, a transit house that posts its memories forward. A coffeehouse shelters rootlessness and fosters dreams. – MB

Volta closed its doors on May 27, 2024.

Sources:

  • Feature image by Anthony Rue, co-founder of Volta Coffee, Tea & Chocolate, 48 SW 2nd St, Gainesville, FL. January 2, 2013.
  • Auxiliary images by MB. May 26, 2024.
  • All italicized quotations are from Gaston Bachelard’s Poetics of Space (1958), selected as personal takeaways by a former community of students and by Charlie Hailey for his Architecture classes.

PechaKucha + Polyethylene

PechaKuchaPosterThis weekend I did the PechaKucha 20×20 for the first time, joining a worldwide phenomenon where PowerPoint meets stand-up. If you’ve lived long enough in these times, you’ve experienced that dreadful state known as Death-by-PowerPoint. You wonder if the mind-numbing presenter ever heard that having slides makes the audience expect images, not this:

  • Bullet point 1 <presenter reads words on the slide>
  • Bullet point 2 <ditto, and you have already read to the end>
  • Bullet point 3 <ditto, and you are mentally elsewhere>

In PechaKucha, the presenter has a hand-held mic instead of a podium, and the 20 slides are up for 20 seconds each. Two architects started the format in Tokyo 11 years ago to get creative ideas out of the board room and into the bar room, out of the conference and into the coffee house. My debut PechaKucha Night was at Volta Coffee & Tea, and I talked Tupperware to a lively audience of students and professionals from my community. I enjoyed presenting as much as I did listening to other participants talk about all manner of thing: from faux history to hard science, from swing aerial dancing to spider hunting in Peru. The poetics of PechaKucha are still emerging. But the form takes us beyond the usual suspects of point/illustration, image/caption and image-text. It’s more intimate than a conference, and more scintillating than comedy. Here are some of my slides & talk for “It’s a Boy! It’s a Girl! It’s…Tupperware!” I drew my PechaKucha from my “Desperate Domesticity” course on the American 1950s, and from a more recent team-taught course on Materials Science Engineering and Society. Enjoy.

TupperwareCreamerPitcher
Slide 8 – Tupperware at the Museum of Modern Art

 

8. Tupperware’s first big success was not with housewives, but with design columnists and art critics. Tupperware became a museum object with modernist values. Male art critics saw Tupperware as a “pure commodity” with “chaste lines” and “restrained dignity.” For them, it redeemed the vulgarity of suburbia and plastic. It made the MoMA!

 

Tupperware Tumblers at the Museum of Modern Art
Slide 9 – Tupperware at the Museum of Modern Art

9. Tupperware combines utility and beauty. Earl Tupper found the right balance of temperature and pressure to mold shapes to a suitable thickness. He also found a way to dye translucent products in pastel colors. Tupperware is tech-y and pretty, STEM and femme.

 

Uncle Rico from Napoleon Dynamite (2004)
Slide 11 – Uncle Rico from Napoleon Dynamite

11. Just how tough is Tupperware? Well, you can ask Uncle Rico from Napoleon Dynamite! He’s a Tupperware Man. Lance, you look like a strong young pup. Why don’t you see if you can give that a nice tear?

Brownie Wise
Slide 13 – Brownie Wise & the Wonder Bowl

13.  The First Lady of Tupperware did things differently. Brownie Wise would fill a Wonder Bowl with colored liquid. She’d toss it across someone else’s fresh-cleaned rug, astonishing women with that airtight seal. For Brownie, doing business meant throwing a party. -MB

Sources:
Museum of Modern Art
Alison J. Clarke, Tupperware: The Promise of Plastic in 1950s America (1999)
Napoleon Dynamite (2004)